The renovation of a 1930s building in Copenhagen becomes an object for reflection on its historical relationship with the marble quarry in Greenland where the marble of the facade originates.

An artist film about the extraction of the mineral cryolite from Greenland. While cryolite was extremely valuable as it was used in the aluminium production and therefore became important for the production of weapons and aircraft industry during WW2, its dust was also poisonous for the workers and made their bones fragile and deformed. The work itself utilizes a piece of cryolite as a carrier of filmic archive material from its production and physical consequences on the landscape and the health of the workers.

Holding on to reflections and surfaces. Love for Film farm, Mount Forest.

A film centered on the production of landscape and concrete in the Arrábida Natural Park, Portugal. Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory that branches through the landscape. Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film looks at how time is physically embedded in the matter and how the molecular particles act in a circular re-shaping of the whole. The film merges 16mm footage shot in the area of Arrábida with 3D animation of the topographic landscape as an equal analogue layer. Há só uma terra. There is only one earth.

Tinne Zenner's 'Translations' (in Greenlandic: 'Nutsigassat') reflects on the power of language as a colonizer of foreign landscapes. A critical and graceful 16mm film in which the vistas of Greenland create a space for free thinking.

Shot on 16mm film in the outskirts of Moscow, Sleeping District is a document of the residential, concrete structures built during the Soviet Era. Static shots of massive apartment blocks and interior views of private apartments forms the visual side, which is intercut with a textual side constructed of observations and memories of the residents, translated from Russian into a broken English. Entering private homes built on tangible experiences, memories and imagination, the film questions how we think of collective memory and how the present may hold traces of history, family relations and a fallen political ideology in the shapes of physical objects and structures.

With a starting point in the architectural facades of Brussels, the postcards become a filter through which to view the city as a facade. Whereas the front of the postcard is a construction of the identity of the city, the back is a singular personal reference. In architecture façadism is when the building is demolished leaving only the façade. In a porous grid system of lines, layers and time, the facade becomes our shared reference to read the temporal space of the city. A spatial (de)construction of a city, 3D animation on 16mm.